This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
The story of a love that became the most fearful thing that ever happened to a woman!
A police detective falls in love with the woman whose murder he's investigating.
The perfect noir comedy of desire, an erotic refraction played in dapper proximity to Hitchcock (what’s taken from Rebecca is passed on to Vertigo). The famous opening introduces aristocratic Manhattan as a perfumed glass cabinet, a whip pan followed without pause by a dolly-in reveals Waldo Lydecker (Clifton Webb) in his bathroom soaking like Marat, venomous typewriter suspended above a marble bathtub. Queenly aesthete and viperish columnist ("sentiment comes easy at 50 cents a word"), he finds a Galatea in Laura (Gene Tierney) and helps her ascend from Madison Ave. go-getter to shimmering socialite. A disfigured corpse brings out the blue-collar detective (Dana Andrews) and the shady bourgeoisie: a sponging playboy (Vincent Price), the "lean, strong body" easily toppled, and…
Blown away. I can't believe that this movie exists and that I hadn't seen it until now and that it achieves as much perfection as it does in under 90 minutes. This is absolutely essential viewing for any fans of film noir and particularly for anyone interested in the femme fatale as a symbolic cinematic figure. It's also the first time I've really been bowled over like this since I discovered and fell in love with The Conformist back in May. Anyway:
"My mother always listened sympathetically to my dreams of a career. Men taught me another recipe."
Laura (Gene Tierney) is dead. Shot in the face with a shotgun. Detective McPherson (Dana Andrews) is on the case, and he's…
Part of my War Years Challenge
Ah, film noir. If you are a fan, this film is a pure delight, winner of the Oscar for Best Cinematography, Black & White and nominated for four additional Academy Awards, including Best Screenplay and Art Direction. Otto Preminger was shortlisted for the Best Director Oscar, while Clifton Webb was named among the nominees for Best Supporting Actor. It's a case study in the making a masterful monochromatic mystery.
Dana Andrews plays police detective Lieutenant Mark McPherson, assigned to investigate the shotgun murder of advertising executive Laura Hunt (Gene Tierney). She was apparently killed in her apartment on a Friday night, and over the weekend her friend Ann Treadwell (Judith Anderson) identifies the faceless body,…
A mystery film noir directed by Otto Preminger firing on all cylinders. The nights are pitch black, the weather is restless and the brightly lit interiors are filled with cigarette smoke, antique furniture and walking old-fashioned costumes. The atmosphere is stylishly conveyed and acutely perceived. The black and white cinematography is beautifully stark, the camera is moving smoothly, the dissolves are seamless. The sweeping, grandiose and dramatic score gives such weight to unfolding scenes. The dialogue is smart and very well written, excellently punctuated by the cast, part of which are Dana Andrews as the experienced and determined detective and Gene Tierney as the beautiful, attractive and fascinating titular character.
The mystery surrounding the murder is expertly constructed, allowing for…
An incredible film about male projection. LAURA initially plays into the cliché that tends to type all movies that start with the focal character dead, wherein the viewer gets to feel like that person is an active, driving character for the force they continue to exert on the living. But in this case, when Laura is revealed to be alive, her actual presence throws everything that came before into disarray, revealing that image driving the story to be nothing more than the idealized visions of different men in love with her. I've been wanting to watch this movie for years (it spent a solid year near and at the top of my Netflix queue but the disc was always rented out), but never knew anything about it. Imagine my surprise to get not only a great noir an incredibly ahead-of-its-time reflection on noir's pedestal problem.
Otto Preminger's "Laura" is an engaging murder mystery whose gender politics help it make compelling social commentary. That commentary never bubbles clearly to the top, however, creating an interesting subtext beneath the noir tropes at work in Preminger's gripping and satisfying drama.
Dana Andrews stars as a detective investigating the murder of Gene Tierney's Laura. Laura, the object of affection of two different men, soon becomes the object the detective's affection as well; though, he only knows her through her portrait and the stories told by those who knew her. The narrative moves down a twisty path, revealing truths that make the story memorable.
Under the front-and-center detective tale, lurks the story of a woman who lives, perhaps even dies,…
This one twists and turns like a dagger in the back .. Gene tierney has an aching beauty and everybody wants a piece of it in this half Hollywood love story half sleazy crime thriller
Laura is a class act noir murder mystery worthy of review, but Vincent Price doesn't sport a mustache and that's just wrong.
"I don't know a lot about anything, but I know a little about practically everything."
A murder investigation is lead by a hard boiled detective who falls for the woman who's murderer he is trying to find. A classic whodunit film noir that every film buff (which I admit to be merely an amateur at best) should take a look at.
The greatest thing about this film is the quick and clever writing. 'Laura' is endlessly quotable and written so fluidly. Almost every scene was stolen by Waldo's (Clifton Webb) cold, even heartless at times, dialogue. I don't even think I could absorb every good line in one viewing, it will probably take a couple more to catch every clever…
A lean, supremely fluid slice of noir from Otto Preminger, one that recognizes that class is a key component of the genre. I'm willing to bet Gillian Flynn and David Fincher are fans.
I liked this film a lot more before I got older and more knowledgeable about male manipulation and objectification under the guise of love. Laura, girl, you need to be single for a long, long while.
This review may contain spoilers. I can handle the truth.
Waldo Lydecker is seriously the biggest sleazebag in cinematic history. Great takedown of toxic masculinity though, especially for a film from the 1940s.
This review may contain spoilers. I can handle the truth.
David Bordwell on unreliable narration in 1940s storytelling:
"A good example of the high artifice of the period comes in Laura (1944). The film is introduced by Waldo Lydecker’s voice-over, remembering “the weekend Laura died,” and remarking on the detective Mark McPherson, wandering through Waldo’s art collection. Waldo’s voice-over, describing events in the past, might seem to assure us that he survives the ensuing story.
Fairly soon Waldo’s voice-over reappears, but it doesn’t frame the overall fiction. As he explains his relationship with Laura to McPherson, we get episodic flashbacks showing Laura’s rise (and, true to form, including events Waldo couldn’t have known about). At the end of their evening together, the film’s narrational weight shifts visibly to Mark, showing…
[control, possession, gendered social norms, violence]
High-contrast lighting and deep framing is nice, and Tierney is enchanting, but the dialogue-driven story and medium coverage had me drifting off in my seat.
Wow, what a beautiful movie. Divinely dark and melodramatic, they just don't make them like this anymore. I watched this because I'm a huge Vincent Price fan (and Dragonwyck, with Gene Tierney as well, is one of my favorite films ever), but I was mesmerized by the entire cast here. Every scene is orchestrated like a dance, and a miasma of dangerous desire permeates the whole narrative.
I can imagine this must have been quite progressive at its time as well, for there are multiple instances where Laura's autonomy is at the forefront--grant, she's been surrounded by men trying to control her fate, but she evades all of them, one way or another, with one exception that is of her…
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
If you're feeling overwhelmed, but still want to squeeze a film into your daily routine, this list is made for…